How Game of Thrones Lost Its way
Epigraph:
“Long after midnight the towers and spires of Princeton were visible, with here and there a late-burning light – and suddenly out of the clear darkness the sound of bells. As an endless dream it went on; the spirit of the past brooding over a new generation, the chosen youth from the muddled, unchastened world, still fed romantically on the mistakes and half-forgotten dreams of dead statesmen and poets. Here was a new generation, shouting the old cries, learning the old creeds, through a reverie of long days and nights, destined finally to go out into the dirty grey turmoil to follow love and pride; a new generation dedicated more than the last to the fear of poverty and the worship of success; grown up to find all God’s dead, all wars fought, all faiths in man shaken…”
– F. Scott Fitzgerald.
It took me awhile to finally come around to watching the show. Given that my introduction to the Game of Thrones (1) phenomenon came during my time in England. Around 2014, when a number of people at the workplace started carrying copies of George R. R Martin’s works around. I wasn’t much of a TV buff at the time. And the Lord of the Rings-ish feel that media in relation to GOT generated, gave the impression that this was one of those medieval warrior-fantasy ripoffs, of Tolkien’s classic. Of course, whenever I ran into Game of Thrones fan boys and girls, I always heard the same thing: the show is sick, and it would be a crime to miss it! I couldn’t be bothered. But the name ‘Game of Thrones’ was a hard one to miss. It’s commanding presence in pop culture was strong then, as it today, six-seven later.
Later some time in 2018, back in my home country, I ended up getting stuck next to a GOT fanboy at work. You better believe it! Considering this is a nation situated in the subcontinent, probably tells you something about the show’s popularity. The bloke, in the course of a few months, told me for the umpteenth time how great the show was, during random conversations. But to no avail. On one particular day, the conversation, during one of the momentary breaks, devolved into the subject of religion. When his religiosity (or the lack thereof) was noted. At which point he brought up the topic of GOT (surprise). Where he went onto to state, and I remember this clearly, how he had been following the show “religiously”. For a guy who didn’t take religious practice seriously, those were interesting words. So.. I thought, hey maybe there’s something to this.
Around that time, I had developed a new interest in TV. As movies, for some reason (even the fantasy/Sci-Fi ones), seemed to be getting less interesting. ‘Less serious’, I think is a better characterization. Having burnt through the entirety of Breaking Bad and a few other top TV shows, I decided to give this one ago. Once I started with the first episode, I didn’t watch anything else (in terms of pleasure viewing) until the final season rolled out. Which came in good time. Which tells you something about the show’s appeal. It’s worth repeating: Game of Thrones (GOT) is a phenomenon. It still is. This review is not a summary of all eight seasons. It’s not a “critic” of the show: the sort one expects from certain ‘pundits’. This review is about how the GOT, a once great show became an ordinary one. And eventually devolved into mediocre soap by the end of the series.
This review intended for those who have watched the entirety of the show. All Eight Seasons. Spoilers Abound. You have been Warned.
AN INTRO OF SORT
As a person who has not read any of George R. R Martin’s books, which the series is based on, my authority on this subject is not the same as someone who has. I am writing this as someone who enjoyed the first three seasons of the show. And to a lesser extent, the next three. Upon first viewing, I felt an immediate connection with the world that David Benioff and D. B. Weiss, along with George R. R Martin (who was one of the producers of the show) had created. A seemingly well budgeted enterprise, with Sean Bean in the lead, and a story that gets you intrigued from the get-go. And that wonderful, ever evolving intro, with that captivating tune. Basically this show had all the right ingredients to get the viewer interested and invested.
A reality that admittedly lessened following the ‘Rains of Castamere’. Continuing from that climatic/dramatic end to the third season, the story nonetheless managed to hold its own. As subsequent episodes, starting with season 04, continued to work on the strengths that made the show, in a word, ‘interesting’: A diverse range of well-written characters, with developing character arcs. Set within a medieval-ish European setting (the sort that I never can get enough of), with touches of the exotic, Near East to balance things out. The characters, played by (mostly) good looking people (always important), set within the backdrop of a dark fantasy. With an unknown evil lurking beneath (or beyond) the petty rivalries and passions that animate the human experience. What more could you ask for? At least as far as television was concerned.
If seasons 02 and 03 were the high marks of the show, in terms of suspense, emotional appeal, and story telling. Seasons 04-06 took over in the action, world building (or expanding) departments, along with greater character development. With a subtle but growing focus on mystery and the unknown. Season 04 saws the rise of the cruel House Bolton. If the Lannisters were the power-mad House, the Boltons were the inhuman one. The cruelty of flaying (skinning alive) their enemies/victims, was characteristically embodied by the perverse but complex villainy of Ramsay Bolton. Whose psychologically twisted machinations will continue until the end of season 06. And was one of the high points of the post-’Red Wedding’ GOT.
A notable feature of season 05 was the tension built around the subject of religious dogmatism. The ugly kind (the Sparrows story line). As the growing insidiousness of this equally power-mad, but philosophically varied, religious fanatics and its impact on King’s Landing politics was dealt with expertly. Reaching its climatic conclusion at the end of season 06. On other side of the ocean, we have the evolving subject of destiny and political liberation (Daenerys Targaryen’s story line) developing in the background. Slowly moving towards a crescendo.
GOT, true to its fantastical, medieval-early modern setting, comes loaded with sword fights, sorcery, alliances and betrayals and, the power-plays of the warring families. Underpinned by the growing prominence of dragons, and the one who controls them. In terms of major battles, much of which takes place off-screen in the early seasons, are well structured into the main story line.
One that is well dosed with romance, treachery, statecraft, and with a little bit of magic and mystery where needed. Elements that only become more pronounced as the series progressed. It was clear that the producers’ ambitions expanded as the seasons wore on. Especially in a visual sense. With the ever expanding popularity of TV, now almost matching theatrical releases, in terms of budget, cinematography and scope.
As key break from other great fantasy epics (The Lord of the Rings and Robin Hood most notably), GOT was unafraid to get down with idea of Greco-Roman style hedonism. Unlike other medieval-ish stories, which tend to be situated in Christian (i.e. moral) cultures (though not in an overt sense). The world of GOT is unequivocally pagan. The “Old gods and the New” clearly had no problem with promiscuity.
The drunken ribaldry, the whore houses, the scantily-clad ladies in waiting, the war of passions, and some times violence (of a sexual kind). All get played out on screen. With the exception of the Starks, the unblemished nobility of men, one that was so characteristic of Tolkien’s world (at least in the movies anyway) is not to be found here. Which, in fairness worked to its advantage. For a key draw point of GOT, is that it was groundbreaking from the standpoint of television. For more reasons that one. In sum, GOT was a success by any measure. Awards, series runtime, public interest, cultural engagement, the emotions it provoked (who can forget the ‘Red Wedding’). You name it.
Alright. That’s it for the overview. I am tempted here to go engage the story lines of the key characters, as a way of discussing the pros and the cons of the latter season(s). But that would turn this review of the decline of GOT into a series review. Instead I will get right to it engaging by the problem points of the show. The final.. Two seasons. That’s right. The decline of GOT began with season 07. Where its many shortfalls, snowballed to a point that by end of season 08 it-in my view-it broke the show. I recall struggling through the final season, the final two episodes in particular, hoping for it to be over and done with. Besides being an abject bore, it was, from the standpoint of what had been accomplished till then, a disappointment. So what happened? How, but more importantly why did things go wrong? And what are the takeaways for the culturally minded.
It Starts with Season 07
The final episode of season 06 was one the high points of series (for me anyway). When Jon Snow is hailed as the King in the North, which followed the reveal of his true identity as Jon Targaryen. Which came on the back of “Battle of the Bastards”: one of the best episodes of the entire series. The scene where he is hailed as the new leader, was powerful for many reasons. For one, it rekindled that positive feeling, that had ebbed away following the massacre of Rob Stark, Catelyn Stark (at that point in the show, two of my favorite characters) and his pregnant wife, Talisa Stark.
The proclamation of a new king, to take the place of his slain brother (you know), brought back memories of the finale of season 01. That of Rob’s anointing. In addition to that, what we had set up before us, was a well woven tale, paralleling the Campbellian archetype. This promising end to season 06 was completely undone by the start of season 07. Not only did the writers/producers take a literal u-turn of the story lines that had been setup in the climatic conclusion to season 06. The next season’s story line seemed to have been purposefully crafted to subvert, no, undermine what had been established in season 06, and in many respects, of what had been accomplished until that very point in the GOT saga.
An Archetype Unmade
The best thing about Jon Snow’s story was that it was complex and ever evolving. An important character at the start of the series, given his status as a Stark, but whose prominence was always tempered by his illegitimate status. When combined with the presence of seemingly more important characters, and his relegation to the cold frontiers of the North, away from where all the ‘real action’ was taking place, meant that the viewer could have downplayed his significance (I certainly did).
Jon’s evolution as a character, from humble beginnings (guess you can’t beat the feeling of being called a bastard by everyone passer by), to his banishment to ‘The Wall’ by his adopted father. Where he is consigned to live a life without (real) adventure, with little freedom, and importantly, agency. Which would have curtailed his capacity to grow as a person. And perhaps the most notable inadequacy in this icy life-given what was going on elsewhere-to never feel the warmth of a woman.
Jon Snow’s story, if one follows his trials, conflicts, tragedies and victories is an artful reminiscence of the myth of The Hero with a Thousand Face (2). Given his apparent fate to a life of hopelessness. The courage and resilience he shows in the face of parasitic adversity, that he encounters by envious forces around him. Enables his steady rise to leadership amongst his compatriots, as a fighter and friend. A man, who despite his many trials chose to remain firm in his principles. Until he decides to get cozy with the wild girl. But even his romantic escapades too become a part of his development.
The old adage, that a boy doesn’t become a man until he’s been with a woman, is well engaged. Jon Snow, following the demise of Ned and Rob Star, as the wielder of Valyrian steel, his many heroics in the subsequent seasons, notably against the “Wildlings”, combined with the revelation that he is in fact a high-borne: Carrying the noble blood of the Targaryens, and then to be proclaimed as the King in the North. Meant that by the end of the season 06 he was the leader of the remaining forces of good. And in my view, the true protagonist of the story.
Then season 07 happened. Jon in trying to confront the Night King threat, opts for the “wise” move of running after the dragon lady, Dany (Targaryen), whom he knows little about, in search of help. Ignoring the counsel of his trusted family, friends and allies. He does so knowing full well of Rob Stark’s fate (which he is reminded of). As he puts himself (and the people who count on him) in a state of vulnerability. His obsequious pleas aimed at the ‘Khaleesi’, does not look good. Either from the standpoint of the story, or from the standpoint of the viewer, who shared in the highs of the culmination of season 06. Who is left scratching his/her head, given this peculiar u-turn. A sense of what is going on?!
In subsequent episodes of season 07, as Jon pleas and begs for Dany’s support (helplessly I might add). It gets quite sickening. The once great hero of the saga, is effectively reduced to a whining manbaby. Which problematically only marks the beginning of his devolution as a character. One that reaches its low point in the finale of the series.
The Plot Lightens
Given that the producers had run out of source materials (i.e. The Winds of Winter is yet to be published) by the end of season 06, one must commend the moving ending that closed it off. Though it was helped by some input from Martin’s forth coming work. With the season 07, however, it seemed to me that the American writer’s inputs had gotten lesser. And intention of the series creators to bring the show to a triumphant close (in the next season) had gotten stronger. So strong perhaps, that it began to affect the story, the pace and the developing (or devolving) character arcs.
The problems related to the disempowerment of Jon Targaryen not with standing, the story falters with respect to the complexity of other key characters as well. Tyrion Lannister, the apparent brains of the show, is sidelined from the start. His function as a cunning and, where needed manipulative hand, is quickly undermined. Notable here is his utter powerlessness to affect, the now-increasingly despotic Dany. Such as his inability to persuade her from not executing (by flame) Randyll Tarly and his son Dickon. A reality that repeats itself for the rest of the series.
Tyrion Lannister going from being the character who was pulling most of the strings in Westeros, into an inept little Leipreachán, devoid of his Machiavellian mind, one that had accomplished so much (for good or ill), is one of the peculiar development of the final two seasons. His weakening, to a point where he is reduced to an ineffectual side-character, who just looks on as things happen around him, by the end of the series (well, besides him persuading an equally inept Jon to kill the Dragon lady) is difficult to justify. The only explanation I can think of is that his disempowered state was being used to accentuate the growing power, wit, will and everything of Dany. Which is another aspect of the story, that seemed quite forced. Given what had transpired in the course of her story before. (See below).
In seventh season there are no worthy plot developments to speak of. Other than the budding (though unconvincing) relationship between Jon and Dany. Him turning his back on his people, and to (eventually) swearing allegiance to the increasingly ruthless “mother of dragons”, effectively makes the conclusion of the series all too predictable. That is, unless the producers decided to get creative with the plot. Which didn’t happen.
The only advancement from previous seasons, was in the arena of special effects. Most notable in episodes “The Spoils of War” & “Beyond the Wall”. In terms of story, we are left with the battle with the Night King, and the question mark over the fate of the Iron Throne. And don’t get me started on the Euron Greyjoy “plot”. Which basically amounts to comic relief, despite its relevance to the main events. Given the increasingly ruthless nature of Dany, it becomes clear that she is not going to be the queen of hearts everyone thought she would be. And her fate as the tale’s eventual baddie, considering the increasingly noble character of Cersei (see blow) was sealed.
The weird thing about the Night King, the poster boy of seventh season, is that he doesn’t talk. This, for me undermines him as a villain. I’m not sure how George R. R. Martin conceived this character in the books, but given the many deviations from the books the series made. Giving the arch villain a few lines: like him conversing with his fellow White Walkers, on strategy etc. Would have helped. Like, what do they really want anyway. Besides slaying all the living?
In sum, season 07 was basically a buildup-season to the final season. In addition to giving the series some air time to close off smaller plot points. Such as Cersei avenging the death of her daughter, Myrcella. Which can be a considered as one of the few emotionally engaging ‘high points’ of this season. If there was one way season 07 could have been redeemed (from the standpoint of the serious GOT fan) is if season 08 had managed to subvert (creatively) the expectations, based on the (flimsy) groundwork that had been laid in the seventh.
Given how awfully predicable the story line had devolved into: characterized by set-piece type plot lines hashed out in the course of an episode or two (The capture of Highgarden being a case in point). Season 08 could be have been the subversive season. By upending these second-rate plots points, and replacing them with something genuinely creative, in addition to its visual appeal.
It Ends with Season 08
Given what had transpired in the previous season, I wasn’t hopeful going into this. For starters, when it was announced that final season was only going to have six episodes in total, didn’t fill me with much hope. For it meant that the producers were in a hurry to get it over with. Which (at least in major films) means things things are going to get (more) action heavy.
This should not have come as a surprise, given that big productions do like this to go out with a bang! But given what had been accomplished in earlier seasons, the ‘shock and awe’ approach which the final season single mindedly embraced, was not convincing, let alone adequate in terms of providing the needed closure to a long-running, TV redefining show. What follows are, factors that I have identified as ‘Problem points’ (as readers of my previous writings will know), that engage key shortfalls in the final season. Most of which build on, and extends from the inadequacies of the previous.
Dumb Jon Snow
As I have already engaged this point, I will try to keep this one short. From the moment Jon Targaryen bowed his knee in fealty to the often naked (speaking of the earlier seasons), but now ‘warrior mode’ Emilia Clarke, at the end of season 07, despite being the rightful heir to the Iron Throne, Jon’s regression as a character, but most notably as a man, was sealed.
It seemed that much of the plot (on Dany’s side) appeared to be driven by Jon’s contrasting ineptness. Him watching on as Dany kill and burn her way through the living, was a case of a man being reduced to a tame little doormat, upon being smitten by the (wrong) woman. His uselessness as a character is exemplified in the final battle. Where Dany, true to her Targaryen (mad) nature, goes berserk, with her “unsullied” guards, and barbarian horse riders proceeding to slaughter the innocents, At which point the noble Jon Snow could have done something. Something, not only noble (as he did, when he prevented a woman from getting raped), but strategically significant. Like aiming a cross bow at Dany’s head.
It should have been clear by then (if not wayyy before) that Dany was a tyrant. And the massacre of the peoples of King’s Landing (women and children notably) has no justification whatsoever. And that something had to be done immediately. For example, following the ringing of the bells: When the unsullied began attacking, the now surrendered, Lannister soldiers. Jon should have done the brave and right thing. That is to rally the Northern forces loyal to him, and joined hands with Cersei against Dany and her castrated hordes. This is what a man of principle, a leader amongst men would have done.
But, having accepted Dany as his queen (a point which he keeps reiterating for the entirety of season 08), this choice which seemed to have robbed him of all agency. Again, this comes down to poor writing. An awfully predicable story line. Predictable for the wrong bloody reasons. An irregardless of the ‘ending’ (i.e. Dany’s death). Jon Snow was irredeemable by the end. And it was kind a fitting (for the wrong damned reasons) when Jon Snow is sent back to the Wall (as punishment for Dany’s death no less. With the concluding scene showing him riding off with his merry band of men into the icy cold. When you think that this was the guy who was brought back from the dead, Messiah-like. What a terrible send off.
Feminism (As Usual) to the Rescue
OK. Let’s get a couple of things straight. Game of Thrones, started out as kind of an old school, macho, man-led, brave Knights in shining armor tale, with lovely laddies and helpless virgins in waiting, to help them on in their quest, tale. Well, not exactly. But for the most part, GOT, in the early seasons, and even later on, had a very man-centric narrative. Of course, the notable exceptions being Catelyn and Arya Stark, and Brienne of Tarth. Catelyn, one of my favorites characters, and a strong woman if there ever was one.
Though not in the most obvious (combative) way. Which was good. Cersei too was strong in her own right. Following her husband (Robert Baratheon) passing, having to manage the influences of her oppressive, conniving brother (Tyrion), and most notably in dealing with the Sparrows. As for Brienne of Tarth, whose character was well done. She was clearly the butch female of the show. But despite her apparent lack of femininity, her relationship with Jamie Lannister in the course of the series was well done (i.e. it was believable). The same however cannot be said for the rest of the ladies.
To start with Arya. Whose portrayal as a strong, independent girl with a will of her own, was good at the beginning. From the outset it was clear that she would stand apart from the other females in the show (i.e. it was unlikely we were ever gonna see her in a dress). In addition to her tom-boyish character, lack of series romantic interests (until later in the series-in fairness she was pretty young to start with). Meant that she had a unique development trajectory/story. Which I enjoyed. However her presentation as an independent young girl, driven by a spirit of retribution, went too far by the end of season 08.
The idea of turning her into an instrument of vengeance: where the viewers are supposed to see her exploits (notably against Walder Fray) as handing out justice for the Red Wedding, whilst understandable, seems, in a paradoxical sense, a bit exploitative. As she seeks the Lannisters in search of vengeance, whilst understandable given all that had transpired. But I felt this had the effect of reducing her to instrument of death: One that was unbecoming of her humanity. Her story, involving the prolonged initiation in the House of Black and White, whilst interesting, ultimately for me, was not redeeming. Whilst the viewer may have enjoyed the idea of seeing this vulnerable young girl, who had been through so much, emerging as this ruthless killer. A story of empowerment one could say. However, as the seasons wore on (and her head count kept increasing), her character became disenchanting.
Essentially, the producers in order to portray her as her “strong female character” (boy, haven’t we seen a few of these in recent times) ended up dehumanizing her. From executing little finger, to that noxious scene involving the killing of Ser Meryn Trant, at the Braavos brothel. Arya, the lean, mean killing machine, by the end of the series didn’t even seem human, let alone a woman. Her desire to lose her virginity with that Baratheon spawn, was unrealistic. Female agency aside, the more plausible scenario would have been him, coming onto her.
Finally, there is the question of who the real villain of the show is, by its end the series? The answer, to me, is clearly Dany. Daenerys Targaryen. Who loses her mind and decides to burn down King’s Landing, following the surrender of its defending forces, with the women and children in it. This was a deal breaker. Also it was quite the turn around for the “Breaker of chains”, who, I think it was in season 03, ventured out to give a dying man (crucified), some water to drink.
There’s no way this set of actions, involving the killing of innocents (for those who care) can be justified. For people who go around calling the Lannisters tyrants, the “mother of dragons” was the real psychopath by the end. A genocidal one. Heck even Joffrey Baratheon would have not stooped to the level of wantonly burning down tens of thousands. As she follows the ‘predictable’ (an awfully familiar word, that describes the final season) example her father, “the Mad King”.
The writers surely could have gotten more creative here. But the idea of having a “strong female character” apparently won out. The strong female with the help of her barbarian hordes burns downs much of the city and killing possibly hundreds of thousands in the process. Of course, when Jon Snow finally kills her off at the end, no one was sorry to see her go. Well, beside her dragon of course. Come to think of it, when people used to refer to Dareneys Targeryan as the “mother of dragons”, I half- wondered if this implied some kind of cross-species copulation! (Ah the twisted mind of man).
And in case I forget, another thing I observed in the course of season 8 and to some extent in the previous season, was that the nudity/sexuality content went down noticeably. Not that this element is of particular significance. But since the GOT prided itself on ‘standing out’ in this regard. This shift was curious. But.. a predictable one.
As I have learnt, when the focus on feminism goes up, the sensuality content generally goes down. “Strong female characters” in addition to being strong, also seem to be increasingly sexless. At the end of series, when the seemingly single, Sansa Stark becomes queen in the North, and Arya becomes a young Columbus going in search of George R.R Martin’s version of the New World (and presumably more throats to slit), it all seemed very forced to my liking. Not to mention contributing to the poorly conceived (and received) conclusion. Which is another (seemingly inevitable) consequence of such forced onscreen diversity. Is that it, besides lacking in plausibility, also works to undermine the art of story telling.
The Men become the Losers (Naturally)
So what does this all mean for the men of the show. Jon Targaryen’s regression has already been noted. Along with Tyrion Lannister’s growing irrelevance to the main (but vacuous) story line. The other long running character is Varys, who also stupidly gets caught/betrayed (couldn’t really care at this point), and is burned alive. Though I never liked this character, he deserved a better send off. Anyone else? Oh there is Brandon stark, the all seeing visionary who has the power of stories. How the hell the writers figured out a way to not make Jon Snow the king of Westeros by the end of the series, is beyond me. But at least we have a Stark. This guy, in addition to this other differences/unique qualities, is also unable to, for inexplicable reasons, get busy. Now that’s the kind a leader a society needs.
On the positive side, the conflict/relationship between Davos Seaworth and Melisandre was done well. Davos, to me, was one of the few male characters who managed to hang onto his mojo by the end of the show. Whilst everyone else, apparently following Bran’s lead, became functional eunuchs.
Who else am I missing? Oh there is Ian Glen’s character: Jorah Mormont. The aged-Knight in shinning armor, and the defender of Dareneys Targeryan’s honor. Who will not leave fair lady’s side, despite her avowed commitment to never give him a blow job, even if the fate of the kingdom depended on it. Look this (female) fantasy of men getting stuck to women they can’t bang, simply because they have some kind a “love” for them is weird, and out of place in a show like this. This is the sort of thing one encounters in female fantasies like Twilight, and to some extent in the Harry Potter saga. Where Snape’s “love” for the unavailable Lilly Potter, who-adding insult to injury-gets knocked up his high school bully. Which of course, doesn’t stop him from loving her. The fact that Snape remained single for the rest of his days, probably tells us something about the ‘love’ question.
Returning to GOT, since Mormont is a gallant knight who can beat down practically any man in combat, and given the fact that men stay potent till the end, and since women tend to value age and beauty much less than we do. It’s difficult to imagine Daenerys not warming up to the old man at some point. Given what had transpired in the series so far: with a lot of incest, homosexuality, adult women locking lips with teenage girls; the age gap when it comes to love/sex involving these two central characters, should not have been problem. In fact, it could have been handled interestingly well. And much more believably than, well.. You know.
With men of the show effectively disempowered and relegated to playing side characters, other aspects of the story also suffer. One of things that went down the hill was the combat. Speaking of the fighting, which was the one things (along with special effects) that steadily improved over the course of the series. From the laughable engagements, such as the one between Syrio Forel and the Lannister guards, in season 01. To the memorable “Showdown at the Tower of Joy”, between a young Ned Stark and Arthur Dayne. Fighting was on the uptick.
However the great battle of Winterfell against the Night King’s undead army put an end to that. From the Dothraki hordes, with their flaming swords suddenly disappearing into the darkness, without a spear being thrown (very conveniently). To the embarrassingly ridiculous running at the Night King with a stick-move by Theon Greyjoy, to the non-existent battle between Jon Targaryen and the Night King. One that many had looked forward to. This was a terrible let down. Especially given what had been set up, leading up to this moment.
In the episode “Hardhome”, in season 05, (a visually stunning piece), during the epic battle between the wildings and the wights. Jon Snow, as leader of the expedition, in trying to evacuate the fighters/survivors; with the battle raging around him, goes in search of the vital Dragonglass. At which point he confronts, and after a desperate struggle, defeats this Night Walker lieutenant with the aid of Valyrian steel. At which point, the scene cuts to the Night King, standing upon a hill.
Who had apparently been observing Jon’s exploits, viewing him as his main adversary. The episode concludes with the Night King and Jon Snow in direct eye line: A battle before the battle. Setting up, for me, a final show down. Which would have been all the more significant had Jon Snow (Targaryen), not abdicated his position as rightful king to.. “my queen”. So what ought to have been a true clash of the titans between the ‘King of the Living vs the King of the Dead’, ended anti-climatically. As the ‘faceless’ Arya, kills the arch villain with simple stab, after jumping on him out of no where.
The final battle at Kings Landing, was overly one-sided. With Drogon doing much the work. (Though how in the world all of those ballistas missed a direct hit is beyond me). As the fighting soon became a slaughter. In sum, by the close of the series, the fighting was plain sh**. And sadly, so were the men.
The Only Positive: Cersei
But we have Cersei. Truth be told, she was one of my favorite characters of the whole show. Yep. After Ned, Catelyn and Rob Stark, I found Cersei to be the most interesting and.. Likable. Cersei, for whatever reason, seemed to have this air about here. Something noble, regal so to speak. So when she was made queen, at the end of season 06, I was glad. For a start, given all that she had been through: a philandering husband, a manipulative brother who sent her daughter away (one who eventually ends up dead as a result), a psychotic son (who also ends up dead). And then a good son, and king, who kills himself, due to events orchestrated by her, but with intention of protecting him.
Added to that, I must say I kinda like the Lannisters. Their role in the Red Wedding aside (though the primary blame falls on Walder Frey and Roose Bolton), there is something interesting about House Lannister. I don’t know, maybe I just like looking at good looking people. And the fact they all have blonde hair, sure does help. (Though Lena Headey, who plays Cersei is in fact a brunette. Which kinda reminds of someone I worked for in my time in England).
Cersei as queen is one of few positives to emerge from the final two seasons of the show. Possibly the only one. Given how predictable and, later, uninspiring the plot becomes. Cersei, for me is the only character that sees any real character progression in the course of the final two seasons. Following her ascension as queen, and then in governing as a monarch. And made to be viewed as the apparent villain of the story, she does a commendable job in this new role. In addition to her gainly presence (even with her short hair). She is portrayed as open minded, willing to learn on the job.
Her decision to promote Qyburn, the former maester as her Hand, is telling in this regard. In an era where might and magic held sway, Qyburn, despite his indifference to ethics, is a man who values experimental and applied knowledge. Qyburn, first as a healer (involving James Lannister), to the ‘designing’ of Gregor Clegane: the (mutant) Mountain. And most notably in the development of the “Scorpion”, which proved greatly effective against the dragons. (Well, at least until they reached King’s Landing). Which exemplified her openness to science. A leader for the new age perhaps. Her effective use of personal/political relationships, notably that which involving Euron Greyjoy, to further he ends (heck this is war), whilst balancing her Lannister brother/lover, is also noteworthy.
Since we’ve already established who the real villain of the show is, Cersei to me, by the end, was more in the right, in contrast to Dany, and even Jon Snow. Of course this might sound like a moot point, but it is worth stating. Since the once great warrior and leader had by then reduced to a side character, devoid of agency. Which is why the ending for me, even more troublesome. If one looks at King’s Landing prior to the “final battle”, it looked like a decent place: The citizens of the city looked taken care of, the army well-fed and prepared. And Cersei, as usual, looked her queenly best, with a clam demeanor, watching over the events that befall her realm.
A key moment, which for me, establishes Cersei light-side affinity (to borrow a phrase from Star Wars), is in the penultimate episode. When the main forces defending King’s Landing, Lannisters and their reinforcements, are destroyed, the bells ring. At which point the survivors defending the inner city (i.e. where much the populace lives) drop their weapons in an act of surrender. The scene cuts back to Cersei, standing within the keep. Upon hearing the ringing, her eyes close. As if to suggest, she welcomes, though with heavy heart, the surrender. But then calamity falls. At which point again, the scene cuts back to her. This time she’s distraught, fearful but also confused. In other words, Cersei has a heart.
In contrast to other “strong female” characters in the show, Cersei’s portrayal is the most realistic one. Besides being the ruler of kingdom: a job that entails strategic and tactical decision making, Cersei is still a woman. A fact that she does not forget. The battle for the future of is not simply a matter of power and survival but also heritage. Notably her progeny. Her decision to conceive again, adds a greater onus to her decisions.
The forthcoming conflict is a battle for the future of the state and her bloodline. Family, was always the strong point of the Lannisters. With the notable exception Tyrion. (Who eventually comes around in the last episode). Cersei, despite her many faults and strengths, remains a woman. A very (from the standpoint of a man) identifiable one. Unlike the power obsessed dragon queen, who becomes this Hitler-like tyrant at the end. To Arya Stark, who forgoes the joys of marriage, family and a noble name, and instead goes off in search of new adventures (and killings).
Cersei, and the Lannisters in general, despite their hunger for power, are not cruel in a chaotic sense. (Unlike the Boltons). They wanted the Iron Throne, or what it represented: power, prestige, and the legacy of leadership more than anyone. Well, except Dany. And were willing to do anything to have it. Much like everyone else to be honest, who aspires after greatness. Minus the killing of course. But in that era, ‘that’ at times, could not be helped. Whilst the Starks would always be the paragons of virtue and goodness. Hence, naturally loved by all. The Lannisters, to me present a more realistic-even within a fantastical setting-portrayal of the human struggle for recognition. Of the highest kind. To rule over, and guide the destiny of a people. One that we’re all born with. But only few succeed in attaining. The Lion, is the king of the jungle for reason.
Which brings me to one of the best (or the best) moments in the whole series. The ending of ‘Blackwater’. As Cersei sits on the Iron Throne, with her youngest son on her lap. Her kingdom on the bring of defeat, she narrates this enchanting tale about the lion and the cub. Intending to take the life of her son, and possibly her own, to avoid possible humiliation, torture and inevitable death. I, not knowing what was to come, was deeply engaged, and touched. Then, as the doors to throne room dramatically swing open, soldiers enter, whereupon she rises. When it is heroically announced by her father of the Lannister victory.. At which point she lovingly embraces her son. A moment that made me feel truly glad. Felt the very opposite about the finale.
In Conclusion
With final season of the long-running show concluding last year. With its controversial ending, which was subject to criticism from many quarters (3). The latest coming from the actor Charles Dance (Tywin Lanniser), who stated, he would sign a petition for the final season to be remade (4). One of the things I have observed looking at popular culture generally, is that criticisms of the final season, and the last two episodes in particular, have come from men. This is supposition on my part, but given what I have outlined in this review, this should not come as a surprise.
The creators of GOT, in the final two seasons, besides a lack of creativity in story telling, and being some what rushed, in getting to a conclusion (despite a year’s delay), went too far in the gender/diversity direction. Game of Thrones by the series finale, seemed to have fallen into the same trap that has ensnared many shows in popular culture. (The Star Wars franchise being a notable example). That of pandering to modern, secular, and mostly leftist sensibilities, by situating those political realities in a timeline/universe where it is of no relevance or applicability. The politicization of art, when there is no need for it, is a proven recipe for giving rise to the mediocre. A fate that is unworthy of a series based on A Song of Ice and Fire.
References
- HBO. 2020. Game of Thrones. [ONLINE] Available at: https://www.hbo.com/game-of-thrones. [Accessed 27 August 2020].
- Wikipedia. 2020. The Hero with a Thousand Faces. [ONLINE] Available at: https://en.wikipedia.org/wiki/The_Hero_with_a_Thousand_Faces. [Accessed 27 August 2020].
- [New York Times. 2019. ‘Game of Thrones’ Fans Gripe About the Finale’s Pointy End (and a Water Bottle). [ONLINE] Available at: https://www.nytimes.com/2019/05/20/arts/television/thrones-finale-reactions.html. [Accessed 27 August 2020]. ; NBC News. 2019. Many people hated the ‘Game of Thrones’ series finale. That’s because it’s kind of like a breakup, experts say.. [ONLINE] Available at: https://www.nbcnews.com/pop-culture/tv/many-people-hated-game-thrones-series-finale-s-because-it-n1007906. [Accessed 27 August 2020].].
- • Independent. 2020. Charles Dance says he would sign petition to remake ‘disappointing’ Game of Thrones finale. [ONLINE] Available at: https://www.independent.co.uk/arts-entertainment/tv/news/charles-dance-game-of-thrones-finale-petition-a9676046.html. [Accessed 27 August 2020].